University of Maryland School of Music Presents THE ART OF SONG Emergence of an American Style Linda Mabbs, soprano pm at The Clarice February 26, 2018 . 8 GILDENHORN RECITAL HALL University of Maryland School of Music presents

THE ART OF SONG: EMERGENCE OF AN AMERICAN STYLE

PROGRAM Linda Mabbs, soprano Justina Lee, piano

Assisted by: Chris Vadala, saxophone

This performance will last approximately 2 hours, which includes one 15-minute intermission. I. Katy Cruel...... arr. Robert Hanson

Go ‘way from my window...... John Jacob Niles

II. Why do they shut me out of Heaven?...... Aaron Copland Heart, we will forget him

If I...... Lori Laitman

III. Astronomers...... Richard Hundley Isaac Greentree My master hath a garden

IV. Hermit Songs, Op. 29...... Samuel Barber I. At Saint Patrick’s Purgatory II. Church Bell at Night III. St. Ita’s Vision IV. The Heavenly Banquet V. The Crucifixion VI. Sea-Snatch VII. Promiscuity VIII. The Monk and His Cat IX. The Praises of God 2 X. The Desire for Hermitage PROGRAM

INTERMISSION

V. Somebody loves me...... George Gershwin

Dream with me...... Leonard Bernstein

Can’t help lovin’ that man of mine...... Jerome Kern

VI. Jane Seymour...... Libby Larsen

American Lullaby...... Gladys Rich

The Children’s Hour...... Charles Ives Two Little Flowers (and dedicated to them)

Parents...... Dominick Argento

VII. Peter go ring ‘dem bells...... John Carter

Litany...... John Musto

Night...... Florence Price

Give me Jesus...... arr. Mark Hayes

Ride on King Jesus...... John Carter

3 Internationally recognized for her interpretation of Mahler and Strauss, LINDA MABBS has sung with many of the worlds leading orchestras, including the Royal Concertgebouw Orchestra, the Munich Philharmonic, the London Symphony and the American orchestras of Chicago, New York, Cleveland, and Dallas among many others; collaborating with such esteemed conductors as Neville Marriner, Mstislav Rostropovich, Riccardo Chailly, Neeme Jërvi, Günter Herbig, and Franz Welzer-Möst. A sought-after concert artist, she has appeared in some of the finest venues throughout the world singing a wide range of repertoire, with special emphasis on American and British Song. Robert Hanson composed his Songs of America for her and after she performed Benjamin Britten’s On This Island for the composer at the Aldeburgh Festival in England, she was asked to give ABOUT THE ARTISTS the American premiere of his Cabaret Songs. Songs for Ladies, her recording with Delores Ziegler of these and other Britten songs was released on the Elan label in 2014. In recent seasons, Ms. Mabbs has sung the Marschallin in Der Rosenkavalier with New York City Opera and again with Opera Carolina and Washington National Opera heard her Madame Rosemunde in Dangerous Liaisons. The Washington Post cited her world premiere recording of Dominick Argento’s Miss Havisham’s Wedding Night on Koch International as “the most brilliant opera recording of the year.” She reprised the role of Miss Havisham in the highly acclaimed production of Miss Havisham’s Fire during the Art of Argento Celebration at the Clarice Smith Performing Arts Center. Her chamber music performances have included appearances with the Guarneri String Quartet, Tafelmusik, The Rembrandt Chamber Players, and the Smithsonian Chamber Orchestra. Named a Distinguished Scholar/Teacher by the University in 2000, Professor Mabbs has taught master classes around the world. Her students have been heard in many of the world’s opera houses including the Metropolitan Opera, La Scala, Berlin Statsoper and Covent Garden. In 2003, Washingtonian Magazine named her to the Washington Music Hall of Fame She is the recipient of the National Opera Institute Achievement Award, and has been awarded grants by the National Endowment for the Arts, the Aaron Copland Fund, The Maryland Arts Council, and the University’s Creative and Performing Arts Board. In 2011 she received the university’s Landmark Award for her international work and in 2012 the Board of Regents honored her with its Faculty Award for Mentoring. In 2014 she was awarded the prestigious Kirwan Faculty Research and Scholarship Prize for her work planning and performing in the highly regarded Art of Argento Celebration. 4 American collaborative artist JUSTINA LEE has served as assistant ABOUT THE ARTISTS conductor, pianist, and coach for numerous opera companies including The Metropolitan Opera, Washington National Opera, Seattle Opera, Opera Theatre of St. Louis, The Castleton Festival, and Wolf Trap Opera Company to name but a few. A frequent collaborator with acclaimed tenor Lawrence Brownlee, she has recently appeared with him on National Public Radio’s Tiny Desk Concert series. The two can be heard in recital this year performing at UNC Chapel Hill, at the Richardson Auditorium in Alexander Hall, Princeton, and as part of the Waterford Recital Series in in Waterford Virginia. Later this season, Ms. Lee will collaborate here at The Clarice with soprano, Tamara Wilson in her newly created program “Weightless Dreams”. Additional recital performances have included collaborations with Alyson Cambridge, Lisette Oropesa, Dimitri Pittas, Alex Richardson, Linda Mabbs, and Gordon Hawkins. She has appeared under the auspices of the Marilyn Horne Foundation residency program and has performed on numerous prestigious recital series programs including On Wings of Song at Carnegie Hall, the Harriman-Jewell Series in Kansas City, the Washington Performing Arts Series at The Kennedy Center, and most recently, on Renée Fleming’s VOICES recital series with Mr. Brownlee, also at the Kennedy Center. In addition, she can be seen on medici.tv as the pianist for Carnegie Hall’s masterclasses with Joyce DiDonato. Ms. Lee is an alumna of the distinguished Lindemann Young Artist Development Program at The Metropolitan Opera and holds degrees from the University of California, Los Angeles, and the Manhattan School of Music. She joined the University of Maryland, College Park faculty in 2008 and currently serves as Principal Coach of the Maryland Opera Studio and also serves on the performance faculties of the Prague Summer Nights Festival and the International Opera Performing Experience program in Italy.

One of the country’s foremost woodwind artists, CHRIS VADALA’s performing career has been highlighted by performances through out the world with the internationally recognized Chuck Mangione Quartet. His performing credits include five gold and two platinum albums, plus two Grammy, two Emmy, one Georgie (AGVA) and one Golden Globe Award. He has performed and/or recorded with such greats as Dizzy Gillespie, Quincy Jones, B.B. King, Chick Corea, Ella Fitzgerald, Aretha Franklin, Placido Domingo, Sarah Vaughn, Natalie Cole—the list goes on. In 2009, he became a member of the Award- Winning Smithsonian Jazz Masterworks Orchestra and often performs with National Symphony Orchestra and NSO Pops Orchestra. He is a UMD Distinguished Scholar-Teacher. 5 THE ART OF SONG: EMERGENCE OF THE AMERICAN STYLE

At the beginning of the 20th century, American Song was still recognized mostly for it’s folk-like qualities. Indeed, folk songs such as Katy Cruel and Oh Suzanna were much of what Europeans thought of when considering American music. Historically, we did favor simpler approaches to melody probably because musical education was limited and the early American instrumentalists were self-taught – the simpler the tune, the easier it was to play and sing. But by the end of the 19th century, things began to change. And they really changed

PROGRAM NOTES after World War II.

Folk song settings (such as John Jacob Niles’ I wonder as I wander) were the early building blocks of the newly emerging “American Sound”. However, it wasn’t until Aaron Copland and Charles Ives (among others) began pushing the theoretical envelope to create a unique repertoire that the American sound became the one we think of today... a style that is instantly recognizable and which stands on its own. It certainly helped that so many composers escaped Nazi tyranny and migrated here, but the stylistic shift was clearly in the hands of the Americans. The art of song crossed the ocean and the creative impetus came to our side of “the pond”.

Katy Cruel is one of a set of six folk song arrangements entitled Songs of America by ROBERT HANSON. I sang the world premiere of these wonderful arrangements in 1990 with the Elgin Symphony where Hanson has served as its conductor for 37 years. These songs are energetic and full of fun! Katy Cruel has always been one of my favorites because the text is so sassy and the music so energized. She has attitude! JOHN JACOB NILES’ folk-like compositions sound very much like the arrangements of folk tunes, but they are his own work. His writing is typical of the American sound of the 19th century. Go ‘way from my window is one of his best-loved songs.

6 Katy Cruel Go ‘way from my window PROGRAM NOTES When I first came to town, Go ‘way from my window They called me “The Roving Jewel” Go ‘way from my door Now they’ve changed their tune, Go ‘way ‘way ‘way And call me Katy Cruel from my bedside Oh diddle, um day. And bother me no more

Oh that I was where I would be, Go on tell all your brothers Then should I be where I am not; Tell all your sisters too Here I am where I must be, That the reason why Where I would be, I am not my heart is broke Oh diddle, um day. Is on account of you.

I know whom I love, Go on your way, be happy I know who does love me, Go on your way and rest I know where I’ll go, But remember dear, And I know who’ll go with me. that you are the one O diddle, um day I really did love best

When I first came to town Go ‘way from my window They brought me the bottles plenty Go ‘way from my door Now they’ve changed their tune, Go ‘way ‘way ‘way And bring me the bottles empty from my bedside Oh diddle, um day. And bother me no more

Oh that I was where I would be, Then should I be where I am not; Here I am where I must be, Where I would be, I am not Oh diddle, um day.

Through the woods I’ll go, Through the boggy mire, Straight-way on the road Till I come to my heart’s desire. Oh diddle, um day

7 AARON COPLAND was determined to create a style unique to America. And he certainly did just that! One thinks of his ballets Appalachian Spring, Rodeo, and Billy the Kid as the epitome of modern American style – immediately recognizable. His setting of Emily Dickinson poems fit neatly into this new approach with its open fifths, somewhat atonal melodies and one word or syllable on each pitch. His style was very popular and influenced many –Leonard Bernstein, David Diamond, Roger Sessions, and even 21st-century composers like Libby Larsen and John Musto. The anger, confusion, pleading, and finally determination in his setting PROGRAM NOTES of Why do they shut me out of heaven still speaks volumes to us today on many levels. His heartbreaking setting of Heart, we will forget him has no equal. LORI LAITMAN’s charming setting of If I closely reflects Copland’s ideal. The lack of time signature, phrases that move in a folk-like manner, and sudden key changes mark this lovely setting of a delightfully innocent Dickinson poem.

Why do they shut me out of Heaven? Heart, we will forget him Why—do they shut Me out Heart! We will forget him! of Heaven? You and I—tonight! Did I sing—too loud? You may forget the warmth But—I can say a little “Minor” he gave Timid as a Bird! I will forget the light!

Wouldn’t the Angels try me When you have done, pray tell me Just—once—more That I my thoughts may dim; Just—see—if I troubled them Haste! Lest while you’re lagging But don’t—shut the door! I may remember him!

Oh, if I—were the Gentlemen In the “White Robes” If I And they—were the little Hand— If I can stop one heart from that knocked breaking, Could—I—forbid? I shall not live in vain; If I can ease one life the aching Or cool one pain, Or help one fainting robin Unto his nest again, 8 I shall not live in vain. RICHARD HUNDLEY has visited our campus several times over the PROGRAM NOTES years. A delightful man, his compositions are very accessible, often quite simple, and written in a musical style that lies between the more formal classical approach to vocal writing and that of musical theatre – often referred to as cross-over. He has set poems by friends, unusual translations that he has discovered, and even a post card he received. Several of his more interesting settings are epitaphs found on tombstones and in epigram collections. Some are quite amusing while others are profoundly beautiful.

Isaac Greentree (An Epitaph)* The Astronomers (An Epitaph)* In springtime comes the gentle rain, Susan Campbell 1863-1910 Soothing honey sweet breeze and Brian Campbell 1862-1909 sheltering sun. Astronomers Beneath these trees rising to the We have loved the stars too skies, deeply The planter of them, Isaac To be afraid of the night Greentree lies. *Based on an inscription found in Allegheny, PA The time shall come when the trees shall fall And Isaac Greentree rise above them all. *Based on an epitaph found in Samuel Palmer’s “Epigraphs and Epigrams” 1869 London

My Master hath a garden A free translation of the Dutch 15th century carol Heer Jesus heeft een hofken

My Master hath a garden O Jesus, Lord, my heal and weal, Full-filled with diverse flowers, My bliss complete, Where thou may’st gather posies gay Make thou my heart a garden plot, All times and hours. True, fair and neat, Where naught is heard but That I may hear this music clear, paradise bird, Harp, dulcimer and lute, Harp, dulcimer and lute, With cymbal and timbrel, With cymbal and timbrel, And the gentle sounding flute. And the gentle sounding flute.

9 What can one say about SAMUEL BARBER that hasn’t already been said? He was an unmatched art-song composer and his deeply felt scores helped fill the lyrical void left by the onslaught of Modernism. While Copland was busy evoking the Old West, Barber continued the lyrical approach of the Europeans. That being said, his songs are still challenging. None of the Hermit Songs have a time signature and it seems as though there is a different meter in each measure. In that way, Barber allowed the vocal line to project the rhythmic irregularities of the texts. There is a conscious use of the perfect intervals of the open fourth and fifth (revered by the ancients) and a three-note motive (a descending whole tone followed by a descending fourth, or its retrograde) is found in at least eight of the ten songs. One immediately hears it in the first three notes of the cycle. Leontyne Price sang the premiere of Hermit Songs here in Washington, DC at the Library of Congress in 1953 with the composer at the piano.

HERMIT SONGS, Op. 29

I. At Saint Patrick’s Purgatory “unless He gives me His Son from Heaven 13th century In the form of a Baby that I may nurse Him”. Translated by Sean O’Faolain So that Christ came down to her in the form of a Baby and then she said: Pity me on my pilgrimage to Loch Derg! “Infant Jesus, at my breast, 0 King of the churches and the bells Nothing in this world is true bewailing your sores and your wounds, Save, O tiny nursling, You. But not a tear can I squeeze from my eyes! Infant Jesus at my breast, Not moisten an eye after so much sin! By my heart every night, Pity me, 0 King! You I nurse are not a churl What shall I do with a heart that seeks But were begot only its own ease? On Mary the Jewess by Heaven’s Light. O only begotten Son by whom all men Infant Jesus at my breast, were made, What King is there but You who could who shunned not the death by three wounds, Give everlasting good? pity me on my pilgrimage to Loch Derg Wherefore I give my food. and I with a heart not softer than a stone! Sing to Him, maidens, sing your best! There is none that has such right II. Church bell at night To your song as Heaven’s King 12th century Translated by Howard M. Jones Who every night Is Infant Jesus at my breast”. Sweet little bell, struck on a windy night, I would liefer keep tryst with thee IV. The heavenly banquet Than be Attributed to St. Brigid, 10th century With a light and foolish woman. Translated by Sean O’Faolain I would like to have the men of Heaven in my III. Saint lta’s vision own house; Attributed to Saint Ita, 8th century Translated by Chester Kallman with vats of good cheer laid out for them. I would like to have the three Marys, their “I will take nothing from my Lord,” said she, fame is so great.

10 PROGRAM NOTES I would like people from every corner of Heaven. Each has his own work to do daily; I would like them to be cheerful in their drinking. For you it is hunting, for me study. I would like to have Jesus sitting here among them. Your shining eye watches the wall; I would like a great lake of beer for the King my feeble eye is fixed on a book. of Kings. You rejoice when your claws entrap a mouse; I would like to be watching Heaven’s family I rejoice when my mind fathoms a problem. Drinking it through all eternity. Pleased with his own art, Neither hinders the other; V. The crucifixion Thus we live ever From the Speckled Book, 12th century Without tedium and envy. Translated by Howard M. Jones Pangur, white Pangur, At the cry of the first bird How happy we are They began to crucify Thee, 0 Swan! Alone together, Never shall lament cease because of that. Scholar and cat. It was like the parting of day from night. Ah, sore was the suffering borne IX. The praises of God th By the body of Mary’s Son, 11 century Translated by W.H. Auden But sorer still to Him was the grief Which for His sake How foolish the man Came upon His Mother. Who does not raise His voice and praise VI. Sea-snatch With joyful words, 8th-9th century As he alone can, Heaven’s High King. It has broken us, it has crushed us, it has To whom the light birds drowned us, With no soul but air, 0 King of the starbright Kingdom of Heaven! All day, everywhere The wind has consumed us, swallowed us, Laudations sing. as timber is devoured by crimson fire from Heaven. X. The desire for hermitage It has broken us, it has crushed us, it has 8th-9th century drowned us, Translation Sean O’Faolain 0 King of the starbright Kingdom of Heaven! Ah! To be all alone in a little cell with nobody VII. Promiscuity near me; 9th century beloved that pilgrimage before the last pilgrimage to Death. I do not know with whom Edan will sleep, Singing the passing hours to cloudy Heaven; but I do know that fair Edan will not sleep alone. feeding upon dry bread and water from the cold spring. VIII. The monk and his cat That will be an end to evil when I am alone 8th or 9th century in a lovely little corner among tombs Translated by W.H. Auden far from the houses of the great. Pangur, white Pangur, Ah! To be all alone in a little cell, How happy we are to be alone, all alone: Alone together, Alone I came into the world Scholar and cat. alone I shall go from it. PROGRAM NOTES 11 A program like this would be remiss if it did not rejoice in the wealth of glorious songs found in the Great American Songbook – a term that doesn’t refer to an actual book but refers to the canon of the most important and influential American popular songs and jazz standards from the early- to mid-20th century. George Gershwin, Jerome Kern, Irving Berlin, Richard Rogers, Duke Ellington, the list goes on and on. Leonard Bernstein, by definition, is not really a member of the original group, but his work in musical theatre has become so much a part of the American landscape that it is appropriate that we honor him here on his 100th birthday.

As these songs migrated to radio broadcasts during World War II, they evolved. Although they were not originally improvised, in the hands of great American singers like Ella Fitzgerald and Frank Sinatra, they became uniquely new each time they were performed. We honor those great singers by following that tradition tonight. No words needed here. We all know the lyrics already!

Somebody Loves Me is one of GEORGE GERSHWIN’s earliest songs. Written for a review in 1924, this wonderful song has been recorded by an array of artists including Lena Horn, Frank Sinatra, and even Kiri Te Kanawa. LEONARD BERNSTEIN’s Dream with me was originally written for his1950 musical Peter Pan but it was cut from the show before opening night. Written for soprano and orchestra, it has a cello obbligato that tonight is played - and improvised on - by Chris Vadala. JEROME KERN’s Can’t help lovin’ that man of mine comes from Jerome Kern’s spectacular theatre piece Show Boat –a work that was a radical departure in musical storytelling, marrying spectacle with seriousness as it explored racial prejudice and tragic love. It was radical then but now is perfect for the opera house where it has been embraced and is being produced with great regularity.

Songs about family life or motherhood were surprisingly rare before the 20th century – perhaps because the topic was always seen as less compelling as it was “female”. But things started to change as American women composers, poets, and performers became more famous and started to champion “women things”. The love of family was increasingly viewed as something quite special.

LIBBY LARSEN’s song Jane Seymour is taken from her famous cycle about the wives of Henry VIII. As Seymour writes of her joy at giving birth to a prince, listen for the quote of the Christmas hymn “Lo how a rose e’er blooming” that Larsen references throughout the song. She ends the song with a lullaby. GLADYS RICH’s depression era American Lullaby speaks volumes about the times. Her poem about the task of caring for someone else’s child while longing for one of your own is heartbreaking. She wrote only this one song and she was rightly famous for it. CHARLES IVES adored his children and it truly shows in these two delightful settings – The Children’s Hour set to a Longfellow poem and Two Little Flowers set to a poem he and his wife wrote together. The usually angular and rhythmical Ives is nowhere to be found in these sweet and loving songs. And finally,Parents - DOMINICK ARGENTO’s remarkable setting of a passage from Virginia Woolf’s diary. Her heartfelt words about her parents will no doubt touch many of us. After writing this cycle, Argento never truly returned to poetry but set mostly letters and literary passages from diaries or books.

12 PROGRAM NOTES Jane Seymour Two Little Flowers (and dedicated to them) Charles Ives and Harmony Twitchell To the Council 12 Oct. 1537 (Mrs. Charles Ives) Right, trusty and Well Beloved, we greet you well, On sunny days in our backyard, two little for as much as be the inestimable goodness flowers are seen, of Almighty God, One dressed, at times, in brightest pink and we be delivered of a prince. one in green. I love the rose both red and white, to hear of The marigold is radiant, the rose passing fair; them is my delight, The violet is ever dear, the orchid, ever rare; Joyed may we be, our prince to see, and roses three. There’s loveliness in wild flow’rs of field or wide savannah, American Lullaby But fairest, rarest of them all are Edith and Gladys Rich Susanna. Hush-a-bye you sweet little baby and don’t you cry any more. Parents (December, 1940) Daddy has gone to his stockbroker’s office a A Writer’s Diary: Being Extracts from the keepin’ the wolf from the door. Diary of Virginia Woolf Nursie will raise the window shade high so How beautiful they were, those old people - I you can see the cars whizzing by. mean father and mother - how simple, how Home in a hurry each daddy must fly to a clear, how untroubled. How beautiful they baby like you. were. How beautiful they were. I have Hush-a-bye you sweet little baby and close been dipping into old letters and father’s those pretty blue eyes. memoirs. He loved her, he loved her: oh Mother has gone to her weekly bridge party and was so candid and reasonable to get her wee baby the prize. and transparent… How beautiful they Nursie will turn the radio on so you can hear were. How serene, how serene and gay a sleepy-time song, Sung by a lady whose poor heart must long even, their life reads to me: no mud; no for a baby like you. whirlpools. Simple, clear, gay, serene. And so human with the children and The Children’s Hour the little hum and song of the nursery. Henry Wadsworth Longfellow O. O. But if I read as a contemporary Between the dark and the daylight, I shall lose my child’s vision and so When the night is beginning to lower, must stop. Nothing turbulent; nothing Comes a pause in the day’s occupations, involved; no introspection. How That is known as the Children’s Hour. beautiful they were… I hear in the chamber above me The patter of little feet, The sound of a door that is opened, And voices soft and sweet. From my study I see in the lamplight, Descending the broad hall stair, Grave Alice, and laughing Allegra, And Edith with golden hair.

PROGRAM NOTES 13 The influence of the African American community on our art and culture cannot be overstated. The heartfelt emotion, determination, and dynamic energy of its musicians, poets and activists has left its mark on American life forever. In the early 20th century, the flowering of music, poetry and art in African American intellectual circles came to be called the Harlem Renaissance. The final group on this program explores a small smattering of songs influenced by these remarkable artists. Although written in the 20th century, some of the selections are contemporary settings of old spirituals while others are newly composed. JOHN CARTER is mostly known for Cantata, his only published work. Carter lived and worked here in Washington DC and served as a composer-in-residence with the Washington National Symphony. I first encountered his Cantata while I was a student at Northwestern university. I fell in love with these full-throated arrangements of spirituals and the work is still one of my very favorites.FLORENCE PRICE, was the first African-American woman to be recognized as a symphonic composer, and one of the first women to have a composition played by a major orchestra – the Chicago Symphony no less! When contralto Marian Anderson gave that historic concert at the Lincoln Memorial in 1939, she concluded her recital with Price’s My Soul’s Been Anchored in the Lord. JOHN MUSTO is a very active and successful composer and pianist. Many may remember his residency on our campus for the production of It's Later the Same Evening ,his highly regarded chamber opera commissioned for and premiered by the Maryland Opera Studio in 2007. His accessible but sophisticated style has many roots in American musical theater and jazz. Litany is a setting of Langston Hughes’ Prayer [2] and is the second song of his cycle Shadow of the Blues. MARK HAYES is an American composer and arranger. His predominant output is of choral music in the Christian sacred music and gospel music genres. I think you will agree that his setting of Give me Jesus is deeply moving. –Linda Mabbs

14 PROGRAM NOTES Peter go ring-a-dem bells Give me Jesus Traditional spiritual Traditional spiritual Peter go ring-a-dem bells. In the morning when I rise Oh Peter go ring-a-dem bells today. Give me Jesus Wonder where my mother has gone You may have all this world Heard from heaven today. Give me Jesus. Bells, bells, ring-a-dem bells Dark midnight was my cry, Give me Jesus. Litany Oh, when I come to die, Langston Hughes Give me Jesus Gather up In the arms of your pity Ride on King Jesus The sick, the depraved, Traditional spiritual The desperate, the tired, Ride on King Jesus, no man can hinder me, All the scum Ride on King Jesus, no man can a hinder me. Of our weary city. He is King of Kings, He is Lord of Lords Gather up Jesus Christ, the first and last, no man In the arms of your pity. works like him. Gather up In the arms of your love— King Jesus rides a milk white horse, Those who expect no man works like him No love from above. The river of Jordan he did cross, no man works like him. Night Louise C. Wallace Ride on King Jesus, no man can hinder me, Night comes, a Madonna clad in Ride on King Jesus, no man can a hinder me. scented blue. Rose red her mouth and deep her eyes, No man, no man, no man, no man, She lights her stars, and turns to where, no man…. Beneath her silver lamp the moon, Can a hinder me! Upon a couch of shadow lies A dreamy child, The wearied Day.

PROGRAM NOTES 15 UPCOMING FREE MUSIC IN MIND EVENTS SOUVENIRS LEFT BANK QUARTET Tuesday, March 6, 2018 . 8pm The Bohemian Spirit Pianist Rita Sloan joins violinist Lev Sunday, April 15, 2018 . 3pm Polyakin and flutist Martha Aarons in Come celebrate Spring with the a program exploring ethnic and eclectic blossoming of 19th-century Moravian influences in works by Cui, Rota, Ibert musical nationalism! The essence and Schoenfeld. of indigenous Bohemian folk culture distilled in great art music as represented in three wonderful quartets MURASAKI DUO of Dvořák, Janáček, and Haas, and The Commissions played by the Left Bank Quartet. Thursday, March 29, 2018, 8pm In anticipation of their upcoming recording project, the Murasaki Duo HAI-YE NI performs works they commissioned Wednesday, April 25, 2018 . 8pm between 2007 and 2012 by Robert Philadelphia Orchestra Principal Cellist Pound, Brooke Joyce, Jerry Owen, Hai-Ye Ni performs Arensky’s uniquely Jocelyn Hagen and Maria Newman scored String Quartet No. 2 for violin, as well as timeless favorites from viola and two celli with School of Music the literature. faculty James Stern, Katherine Murdock and Eric Kutz, as well as Shostakovich's Cello Sonata in D minor with faculty pianist Rita Sloan.

UMD SCHOOL OF MUSIC: ADMINISTRATION AND STAFF

JASON GEARY Director EDWARD MACLARY Associate Director for Academic Affairs PATRICK WARFIELD Associate Director for Graduate Studies and Strategic Initiatives

LORI DeBOY Associate Director for Administrative Affairs

CRAIG ARNOLD ASHLEY POLLARD Advising and Student Services Opera Manager

ROBERT DiLUTIS EMILY SHEIL Community Engagement Graduate Student Services PATRICE SHEFFIELD JACKSON MARK WAKEFIELD Finance Orchestra Manager JENNY LANG CRAIG KIER Admissions and Enrollment Management Director, Maryland Opera Studio AARON MULLER EDWARD MACLARY Production & Operations Director of Choral Activities THEODORE GUERRANT JOSÉ-LUIS NOVO Accompanying Interim Director of Orchestral Activities LAURI JOHNSON DAVID SALNESS Choral Administrator Director, Chamber Music Activities MING LI CHRIS VADALA Piano Technician Director of Jazz Studies HEATHER MUNDWILER MICHAEL VOTTA Assistant to the Director Director of Bands JEANNETTE OLIVER J. LAWRENCE WITZLEBEN Business Manager Coordinator of World Music Ensembles